Remembering that there is a
difference between marking
and dividing, marking is generally defined as the laying down of
thin thread, to create specific smaller areas (usually symmetrical) on
the mari surface. These threads are called jiwari.
After the important centers, points & intersections are indicated by
pin placements when preparing the division, the pins are connected with
jiwari.

Marking threads are usually
metallic (but are not required to be), and usually a bit finer than what
the design is stitched with (again, not required). The marking threads
will often become an integral part of the overall design, so try to plan
ahead and choose accordingly. On occasion, the pattern will direct you
to mark in invisible jiwari - use a matching
thread to the mari wrap, so that the lines blend into the mari wrap and
are not seen in the finished design. This can be accomplished by using
pearl cotton (#8 or #12; you can use #5 but it tends to show due to
gauge), or a double strand of sewing thread in the same color as the
mari wrap. There may be other times that after the design stitching is
complete, the jiwari are removed.

Marking the mari can be
compared to "connecting the dots" - placing jiwari from appropriate pin
to pin to create specific subsections on the mari that will be used to
stitch the design. Use enough tension to keep the threads straight, but
don't pull the pins out of alignment, skew the mari, or damage the
thread. As you place the marking threads, lay the thread purposely from
pin to pin, in straight lines. Be consistent in placing the thread on
one side or the other of the pins as you go, all throughout the process.
This may seem insignificant, but it's not. Pins generally have a
shaft diameter of close to 1mm. By not being consistent in staying to
one side or the other you are introducing that amount of error into
where the marking thread is being placed. If we were working on a flat
surface it probably would not mean much. But, temari are worked on
spheres and the laws of spherical geometry take over. Don't fear this as
being "deep math" - it's not. The only thing needed to remember is that
when working on a ball, mistakes grow as you progress. A little tweak
here becomes a big tweak not too far later on. A 1 mm error in placing a
marking thread way back here in the beginning can indeed make a big -
bigger - difference down the road as you are working your design. Check
out the illustrations in the "Little
Things" of the TemariKai Toolkit for thread placing.

Do not remove the divider pins
until you have tacked the main intersections of the markings. Even
though you should be keeping an eye on things for symmetry and accuracy
as you go, check and adjust things as needed once all the marking lines
are placed. Remember, the object is to get things as even and accurate
as possible - but, in reality no mari is perfectly round so there will
be some minor "offs" (key words are "some" and "minor") - usually within
1 mm or 2 is fine. However - it's important to remember that the more
involved the division and design, the more important accuracy and
precision are when it comes to a round mari and accurate, sharp
markings. A tack stitch is a tiny
back-stitch taken across the intersection of two or more marking lines.
They should be tiny, and virtually disappear.

Everyone has their own thoughts on
"how much to tack". The point is no matter how accurate your marking is
now, as you handle the ball through the stitching process things are
going to shift around a bit. Tacking at least some strategic
intersections is a must - such as major centers and corners. Some people
prefer to do as little tacking as possible (and may just leave some of
the marking pins from the division in the mari as they stitch). Others
find a "happy medium" and tack between 30 to 50 percent of the
intersections in addition to the major centers. Yet other people find
that tacking all of the intersections is what helps them create their
best outcomes. In reality, you will probably find that as you begin
temari, you tack a lot - if not all - of the points. As your skill and
confidence grows you may find that you can ease off a bit and
concentrate on the major centers/corners. When you tack be sure to take
a tiny stitch, on a horizontal orientation through the lines (i.e., have
an even number of marking lines on either side of the needle entry and
exit of your tacking stitch. See the "Little Things" in the TK ToolKit).
You tack with the same thread you used for the marking lines, or some
people will use a finer yet matching metallic. Another option is to tack
the marking lines (no matter what was used) with the same thread as you
wrapped the mari in. This comes in handy especially if you are using a
more "extravagant" marking thread, and/or a thicker thread.... and if
doing this you can just move from point to point without having to bury
the thread under the mari, since it won't show on the wrapped mari.

It's worth noting that no matter
how technically great a stitcher you may be or become, your skills will
be negated if you don't take the time to hone your skills in making
mari, dividing and marking. There is no substitute for taking your time
and developing a good hand for neat and precise work. The most beautiful
temari design can have everything distracted from it because of
workmanship that shows haste, and/or lack of attention to detail. And
indeed, these attributes are at the core of Japanese arts and life
overall. To not take the time to work neatly, and continue to develop
one's skill is dishonorable (no matter what one may be doing).
Skill in making mari and preparing it for stitching with dividing and
marking is just as important as the actual stitching of temari. They
cannot be separated.

There is no set "path" that you
must follow in placing marking threads as you are laying them down on
any particular division.... most stitchers find ways to be conservative
with thread without compromising quality. Japanese books will sometimes
show various "paths" but there is no requisite other than being sure all
the points are connected as required, intersections are sharp and neat,
and the threads stay in place either through friction on the mari and/or
tacking.

Removing marking
threads in order to complete or enhance a design is fine - not
traditional, and most times the standard is that the jiwari become an
integrated part of the finished temari. However, there are times when it
just doesn't work and the lines are removed. If you know in advance that
the design calls for this at the end - plan accordingly when you lay the
jiwari and tack them in place. Don't weld them on so that it's
impossible to remove them later on. I've found the best way is to snip
the thread in between two tacks or centers; this leaves you, hopefully,
enough thread that you can use a smaller needle, thread it up and anchor
the ends. A needle threader can be very helpful in trying to harness a
short length into the eye of the needle. When snipping, be sure not to
cut any of the mari wrap, nor the stitching threads.

Finding and choosing marking
threads is a common question. Just as stitching threads, marking threads
are entirely up to the stitcher as part of the artistic composition of
the temari. In general however, the marking thread (jiwari) is a
decorative thinner metallic, but some patterns may call for it to be the
same as the stitching threads or even be done in "invisible thread" -
the same as the wrapping threads.

Choosing a marking thread therefore
becomes a matter of personal preference for most designs. Usually jiwari
becomes an integral part of the completed design (although on rare
occasions you may even remove marking threads after the design is
completed). Very often on a temari the last stitching done on a temari
is "embellishing" - that is, stitching that adds the final "pop" to the
design, and often is done in the same metallic thread that was used for
marking. This may be the final round of the design, or some extra accent
stitches (or both). This work may be done in the same thread as the
marking or it may be one that makes more of an impact while coordinating
with the marking and stitching thread.

Metallic threads tend to be a bit
more expensive than pearl cotton. However, there are some good choices
for both common use as well as for a more special project. A
common mistake is to purchase a thread that is too fine - for example
thread sold for decorative machine embroidery; for the most part they
are too fine for regular use with the common #5 pearl cotton.

A relatively inexpensive and easily
obtainable option, especially for beginners and to use when teaching the
gold lame thread sold in the jewelry sections of craft stores (just be
careful to not get the elastic version). It is a 2 or 3 ply lame that is
rather close in gauge to a #5 pearl cotton, and for the trial and error
that always happens with us as we learn, this is a cost-effective
material. Another high favorite that is used by many stitchers (both
beginners and experienced temari makers) and well-recommend is the
DMC metallic sold on a spool for hand embroidery. It is packaged on a
card and will be found by the pearl cotton in a craft store: DMC Art #
282, a 43 yard spool for about $2.70US. It's a 3-ply thread that gives
just enough contrast to use as marking and embellishing thread. It
usually is available in gold, light gold and silver. Red and green may
be found around the holiday season. Both of these threads tend to
be more readily available (as in craft stores) than some of the
specialty brands usually found in needlework shops (brick and mortar as
well as online)

One word of caution: the metallic
pearl cotton offered by DMC is quite difficult to work with. Metallic
floss also can be difficult because of the special needs of working with
multiple strands. DMC also has a line of threads called "Light Effects"
- these too are stranded and are more for use as a blending filament or
as multiple strands. This is not to say "don't use them" - needless to
say they may be perfect for certain projects. Just be aware that common
consensus has been that they need some extra effort.

After this, the sky tends to be the
limit - many brands are available. Some of the more well known are:
Kreinik, Rainbow Gallery, Caron Collection, Kyo, Olympus, YLI ...
and in the end each person will find their personal favorites. Among
these companies, these threads will good general use (remembering that
other threads from these folks may find a nitch in a special project).
An online search will lead to both online and brick-and-mortar
retailers.

Kreinik has a wide range of both colors and sizes, ranging from
ultra-fine blending filament (great for mari over-wraps but too thin
to mark or stitch with) up to ribbon-width. The most common Kreinik
sizes used in temari tend to be fine or medium braid, as well as
ombre. Kreinik threads are sold on small 10m cap-top spools and tend
to be a bit expensive. Many stitchers use them for embellishing over
marking, but it's personal (and pocketbook) choice. There is no
argument that the colors are great and probably the widest range
available.

Rainbow Gallery offers a huge selection of fibers including
metallics. Nordic Gold (although it comes in a range of colors) is a
favorite, as is Gold Rush (several sizes available so choose
wisely). Coronet and Treasure Braids are also options. These fibers
are sold on cards in a bit larger quantity than Kreinik, and are a
bit more affordable.

Caron Collection offers "Snow" which is a chained, soft in hand
fiber - a bit pricey for common use but gorgeous stuff. It's offered
in a loose hank.

Kyo and Olympus threads are imported from Japan. Kyo comes on
cards, Olympus in small spools. Both are moderately priced.

YLI manufactures Candlelight, on mini king spools. These are
really beautiful threads on mini-king spools and moderately
priced.

In the end nothing works other than
some trial and error to see what you like to work with and what works
with your style. This is certainly not a comprehensive listing and as
always, the only "rule" is if you can stitch with it, then it's probably
ok. Just remember to balance the threads in your project for artistic
appeal - the first and most important one being yours.